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Click here to subscribeDeckelvase mit Vogel als Handhabe - Fritz KleePorzellanfabrik Lorenz Hutschenreuther, Selb Abteilung für Kunst 1917-1919. - Umlaufender Fries unterschiedliche Vögeln vor Goldblättern - Porzellan, weiß, glasiert. Gold bemalt. Goldrand. Auf der Glasur grüne Marke: Entwurf Professoer Fritz Klee Direktor der K. Fachschule Selb - Lorenz Hutschenreuther A.G. Selb Abteilung für Kunst - Löwe mit LHS im Oval. 1. Wahl. H. 27,5 cm. - Zustand: Gold vereinzelt ber.
Klee-Brosche mit DiamantenPlatin. In Form eines sechsblättrigen Kleeblatts. Im Pavé gefasst mit 112 Diamanten im Brillant- und Baguetteschliff (zus. ca. 4,80 ct, H/I, vvs-vs) und einem zentralen zitronengelben behandelten Diamant im Brillantschliff (ca. 1,30 ct), Gestempelt: Feingehalt Pt950, MZ. Farbbehandelter Mittelstein wohl später. 5,0 x 3,4 cm. Gewicht 16,57 g.1950er Jahre.
Vase 'Klee', Venini & C., Murano, der Entwurf Laura Diaz de Santillana, die Ausführung 1981.Farbloses Überfangglas, weiß hinterfangen, mit farbigen Diagonalstreifen. Der Boden bezeichnet "venini Laura 81", zwei Herstelleretiketten. H 25,4 cm.LiteraturVgl. Deboni, Venini Glass Catalogue 1921 - 2007, Bd. 2, Turin 2007, Kat. Nr. 315.Vgl. Venini Diaz de Santillana, Venini. Catalogue raisonné 1921 - 1986, Mailand 2000, S. 188, Abb. 148.
Hutschenreuther "Dose, achteckig"Entwurf Fritz Klee 1918, grüne Stempelmarke 1917-1925, Entwurfstempel und Pinselnummer 5., oktogonale Zylinderform mit abgesetztem Stand und zeltartig geformtem Stülpdeckel, alternierender Felderdekor aus stilisiertem Floralmotiv auf dem Korpus und Ovalmedaillons auf dem Deckel in schwarzer und purpurfarbener Aufglasurbemalung, Goldstaffage und schwarze Randlinien, Dekor winzigst berieben, sonst guter Zustand, H 13,5 cm.
Heiner Grimm, Charakterkopfden Betrachter anlachender älterer Herr mit Zettel in der Hand, leicht pastose Portraitmalerei, Öl auf Sperrholztafel, um 1970, links unten Ritzsignatur "Heiner Grimm", gerahmt, Falzmaße ca. 20 x 15 cm. Künstlerinfo: ab 1964 auch „Grimm F.I.A.L.“, dt. Maler (1913 Wunsiedel bis 1985 Wunsiedel), stud. an der Staatl. Fachschule Selb bei Fritz Klee und an der Akad. München, im 2. Weltkrieg Propagandazeichner an der Front, 1950-53 in Schweden, unternahm zahlreiche Welt- und Studienreisen, u. a. 1954-59 Studienreisen nach Italien, Frankreich, Schweiz und Norwegen, 1959-62 Studienaufenthalte in Kalifornien, Mexiko und Arizona, 1964 Mitgl. des Internationalen Verbands für Kunst und Literatur (F.I.A.L.), signierte anschließend "Grimm F.I.A.L.", 1965 Reise nach Ägypten, 1978 in Griechenland, 1980 Studienreise nach Indonesien und Bali, 1981-82 Studienreisen nach England, Lissabon, Madeira, Marokko, Lanzarote, Spanien (Granada) und Ibiza, 1984 Studienreise nach Rio de Janeiro und Westafrika, beschickte u. a. Ausstellungen in Stockholm, Karlskrona, Würzburg, Montreux, Scottsdale/Arizona, Bad Brückenau, Hilden, Bad Kissingen und Bonn, Palm Springs, Pasadena, Los Angeles, San Franzisco, Death Valley, tätig in Wunsiedel, Quelle: Website des Künstlers.
Ahmed Cherkaoui (1934-1967)Les Miroirs Noirs VII oil on canvas, framedsigned 'A.Cherkaoui' (lower left), titled and dated on the verso, executed in 196525 x 30cm (9 13/16 x 11 13/16in).Footnotes:Provenance:Property from a private collection, FranceProperty from a private collection, SpainAcquired directly from the artist by the above 'This is not the hard-edged abstraction championed by other well-known Moroccan modernists at the time such as Mohamed Melehi. Instead, Cherkaoui's work here and throughout his career retains much more of the hand of the artist. His work deliberately allows space for imperfections'- Holiday PowersAhmed Cherkaoui was a leading figure of early Moroccan modernism, known particularly as one of the first painters there to initiate a dialogue working towards rooting international artistic modernism within a distinctly national context. He was an early instigator to a broader movement in Morocco during the short span of his career between the late 1950s and 1967, when he died abruptly from complications from appendicitis. Despite the short length of his career, artists and the arts discourse in Morocco throughout the 1960s and 1970s came back repeatedly to questions Cherkaoui had begun to pose before his early death. Cherkaoui was one of the first artists to attempt to ground abstraction in signs and symbols, actively confronting the duality of and distance between Morocco and Europe as can be seen in his 1965 painting Les Miroirs Noirs VII (The Black Mirrors VII). If the resolutely flat plane, visible brush strokes, and loose gestural abstraction call to mind the Paris School, the luminous earth tones and central symbol still link back to Morocco. For an artist that felt himself continually torn between France and Morocco, it was in his work that he was able to create an interstitial space. The elements of the painting are not precisely locatable to a discreet national body yet still gesture to his multiple geographic ties, creating instead a new blend and bridging the distance between the two on canvas. Trained in calligraphy in Qur'anic schools in Morocco, Cherkaoui left for Paris to study graphic design at the École des Métiers d'Art in 1959. Despite his interest in design, it was during his time in Paris that he began focusing more on painting and began frequenting the atelier of painter Jean Aujame. Influenced by the work of Paul Klee and Roger Bissière, Cherkaoui began working with abstraction. Like many artists of his generation in Morocco, it was while he was abroad, studying in Warsaw at the School of Fine Arts, in 1961, that Cherkaoui became invested in a closer look at his own background and cultural heritage. This led him in part towards experimentation with new materials, such as his series consisting of paintings on jute and collages that allowed him to expand on the boundaries of more academic painting.1 It was upon his return to Morocco after that year that he began exploring more closely the signs and symbols culled from local visual culture that would go on to populate his visual language.2 In many ways, this is an evocative moment for a career that was so intensely rooted in Morocco yet primarily articulated abroad. After multiple years abroad, Cherkaoui came home only to leave again to forge a career in France. By 1965, the year in which he painted Les Miroirs Noirs VII, Cherkaoui was at the height of his career and working in France. That same year, Gaston Diehl, the highly influential director of the Cultural Exchanges at the French Cultural and University Mission, writes, again in a text reproduced in L'Opinion: 'Given that our universal contemporary art has been so often criticized by vocation and by taste to be without particular roots, let us rejoice in front of the oeuvre of an artist that is not afraid to affirm his personality andhis origins. ... That he plunges into a long ago past does not keep him from living in the present or placing himself there [in the present] with vigour. Mixture of traditions? Marriage of convenience between the Maghreb and Europe? I would opt more for an osmosis between two civilizations, between two distinct modes of expression.'While deeply influenced by Moroccan visual culture, and particularly by the symbols used in Amazigh symbols, Cherkaoui was by no means mechanically repeating the images that he saw around him, as is highlighted in Les Miroirs Noirs VII. To the contrary, his work is an in-depth exploration into the structures and shapes of these symbols in order to reimagine them, to rework them through the lens of international modernism. Instead, and as is highlighted with Les Miroirs Noirs VII, painted soon after Cherkaoui had left Morocco to work in France as a drawing teacher, the artist actively sought to ground the international influences of training within a deeply local context in order to create something different. It is not, in Cherkaoui's work, a choice between one or the other. Like other works from this time period, Les Miroirs Noirs VII focuses in closely on large shapes painted with thick black lines that are interacting with one another, emphasized and refracted by broad lines of bright colours over a wash of earth tones meant to mimic remembered Moroccan landscapes. This is not the hard-edged abstraction championed by other well-known Moroccan modernists at the time such as Mohamed Melehi. Instead, Cherkaoui's work here and throughout his career retains much more of the hand of the artist. His work deliberately allows space for imperfections—the black line at the right is not retouched and so we glimpse the blue paint underneath, the purple paint is not quite opaque. There are not clean lines or sharp shapes in Cherkaoui's oeuvre, giving way instead to shapes that have light and life in them. The central symbol itself is off balance, not centred but active on its unstable axis. The canvas is full of movement because the viewer can see the action of his brush in the uneven white line in the centre, the gradations of colour given by varying thicknesses of paint, the lines that stop before hitting the edge at the bottom. The colours rarely blend together, instead focusing on the solidity and purity of each colour as it stands alone in concert with the other bright accents throughout the canvas. Moreover, it is an intimate canvas, just slightly larger than a piece of paper. Here Cherkaoui does not impose a vision to overwhelm the viewer, but invites us to step in closer, see in more depth something that is almost private. Abridged from a Text by Holiday PowersThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Kerkovius, IdaRiga 1879 - 1970 Stuttgart, Schülerin von Adolf Hölzel, am Bauhaus Weimar bei Kandinsky, Klee und Itten, Prof.. "Rotes Spiel", Figurenkomposition in Landschaft, unten rechts sign., unten links num. 18/300, Farbserigraphie/Papier, HxB: 17/23 cm (Platte). Leicht gebräunt, Lichtrand. Im Passepartout. Lit.: Ida Kerkovius, Werkverzeichnis der Druckgrafik, WVZ-Nr. IKD 17.
Kerkovius, IdaRiga 1879 - 1970 Stuttgart, Schülerin von Adolf Hölzel, am Bauhaus Weimar bei Kandinsky, Klee und Itten, Prof.. "Formen in Grün", Abstraktion, unten rechts sign., unten links num. 18/300, Farbserigraphie/Papier, HxB: 16,1/18,7 cm (Platte). Min. gebräunt. Im Passepartout. Lit.: Ida Kerkovius, Werkverzeichnis der Druckgrafik, WVZ-Nr. IKD 18.
Kerkovius, IdaRiga 1879 - 1970 Stuttgart, Schülerin von Adolf Hölzel, am Bauhaus Weimar bei Kandinsky, Klee und Itten, Prof.."Ohne Titel", abstrakte Figurenkomposition in Schwarz, im Stein monogr., unten links sign., Lithographie/Bütten, HxB: 16,3/22 cm. Mit Passepartout hinter Glas gerahmt. Lit.: Ida Kerkovius, Werkverzeichnis der Serigrafien, Lithografien, Multiples, Museum der Stadt Kornwestheim, IKD 42, S. 73 mit Abb..
Kerkovius, IdaRiga 1879 - 1970 Stuttgart, Schülerin von Adolf Hölzel, am Bauhaus Weimar bei Kandinsky, Klee und Itten, Prof.. "Punkt - Linie - Fläche", unten rechts sign., unten links num. 300/E.D.A. 25/40, Serigraphie/Papier, HxB: 30,5/40,5 cm. Mit Passepartout hinter Glas gerahmt. Lit.: Ida Kerkovius, Werkverzeichnis der Serigraphien, Lithografien, Multiples, Museum der Stadt Kornwestheim, IKD 25, S. 56 mit Abb..
Kerkovius, IdaRiga 1879 - 1970 Stuttgart, Schülerin von Adolf Hölzel, am Bauhaus Weimar bei Kandinsky, Klee und Itten, Prof., "Interieur mit Blume", abstraktes Stillleben, unsign., Farbserigraphie/Velin, HxB: 40,2/53,5 cm. Alters- und Knickspuren. Im Passepartout unter Glas gerahmt. Lit.: Ida Kerkovius, Werkverzeichnis der Serigrafien, Lithografien, Multiples, Museum der Stadt Kornwestheim, IKD16, S. 46 mit Abb..
Imkamp, WilhelmMünster 1906 - 1990, war tätig in Stuttgart, 1926 - 1929 Stud. am Bauhaus bei Feininger, Kandinsky, Klee und Schlemmer, seit 1953 in Stuttgart. "Seehund", stilisierte Darstellung, unten links sign. und dat. (19)70, Tempera/Papier, HxB: 10/13 cm. Mit Passepartout hinter Glas gerahmt.
Original vintage advertising poster for Ernst Schwitters Collection with Picasso, Arp, Kandinsky, Klee, Miro, Ernst, and Kurt Schwitters at Arken Museum of Modern Art from 13 June to 13 September 1998, featuring an artwork by German Dadaism artist Kurt Schwitters (1887-1948) in blue, red, yellow, brown and black colours. Excellent condition. Country of issue: Denmark, designer: Kurt Schwitters, size (cm): 100x70, year of printing: 1998.
Set of nine art prints and posters on various subjects. 1. Paul Klee Stadtartiger Aufbau / City-like Structures 1917, an art exhibition at Museum Berggruen featuring a colourful artwork by Paul Klee (1879-1940) a Swiss-born German artist, influenced by expressionism, cubism, and surrealism. Very good condition, creasing. Country of issue: Germany, designer: Paul Klee, size (cm): 84x59, year of printing: 2006 2. Zap Mama promoting the release of Adventures In Afropea 1 album, the poster features an image of five ladies in colourful pattern clothing smiling and dancing at the camera, yellow and black lettering set over a green and orange background. Zap Mama is a Belgian performer born in the Democratic Republic of Congo and raised in Belgium. Good condition, creasing, tears. Country of issue: USA, designer: Unknown, size (cm): 91x61, year of printing: 1993; 3. Caoba Nicaragua Suiza featuring a black and white design of a flag and cogwheel set over a striped background, the text in red below reads - Swiss Workers' Aid Organisation, Farm Workers Association, International Solidarity Syndicate, Construction and Wood Union, House of Agricultural Workers Matagalpa, Nicaragua. Excellent condition, backed on linen. Country of issue: Nicaragua, designer: Unknown, size (cm): 59x43, year of printing: 1970s; 4. Graue und die Kuste / the Gray and the Coast, depicting a silhouette looking at grey and blue shapes. Published and printed by Mercurius Art Publishing. Very good condition, minor staining. Country of issue: Netherlands , designer: Paul Klee, size (cm): 80x60, year of printing: 1996; 5.Maurice Chevalier featuring an outline of a face, boater hat, and a bow tie in blue and yellow, with a smiling face formed from the name. Maurice Auguste Chevalier (1888-1972) was a French singer, actor and entertainer. Good condition, staining, foxing, blind embossed stamp. Country of issue: France, designer: Ch Killer, size (cm): 76x55, year of printing: Unknown; 6. Potlatch Pour Noel Arnaud Prises de Terre / Earth Plugs from November 6 to December 30, 1997 at the Palais des Arts Modern and contemporary art space in Toulouse and Midi-Pyrenees, featuring red and blue lettering and abstract shapes around green lettering. Excellent condition. Country of issue: France, designer: Unknown, size (cm): 65x48, year of printing: 1997; 7. Large letter M in white and black set over an orange background. Excellent condition. Country of issue: USA, designer: Rosemarie Tissi, size (cm): 89x59, year of printing: 1994; 8. Lecture by Gunter Rambow at the multi-purpose hall of Neubau II State Academy of Fine Arts in Stuttgart, featuring a silhouette of a man in black, with bold red and white lettering set over a brown background. Gunter Rambow (b.1938) is an award-winning graphic designer and photographer. Good condition, creasing, small tears, minor staining. Country of issue: Germany, designer: Unknown, size (cm): 84x60, year of printing: 2008; 9.Appel Superpositions exhibition in Antwerpen, featuring a colourful image of a red cat with a bird on its side titled Le Chat Rouge by a Dutch painter, sculptor and poet Christiaan Karel Appel (1921-2006). Excellent condition. Country of issue: Belgium, designer: Karel Appel, size (cm): 49x32, year of printing: Unknown.
Set of six original art exhibition advertising posters. 1. Museum Berggruen National Gallery featuring an artwork by the notable Spanish artist and sculptor Pablo Picasso (1881-1973) titled Dora Maar with green fingernails from 1934, depicting Henriette Theodora Markovitch (1907-1997), known as Dora Maar, a French photographer, painter, and poet. Very good condition, creasing. Country of issue: Germany, designer: Pablo Picasso, size (cm): 84x60, year of printing: 2014; 2. Picasso and his time, the Berggruen collection exhibition featuring an artwork titled Bumblebee Flowers over the Yellow House / Hummelsbluten uber dem Gelben Haus by Paul Klee (1879-1940) a Swiss-born German artist, influenced by expressionism, cubism, and surrealism. Very good condition, creasing, small tears. Country of issue: Germany, designer: Paul Klee, size (cm): 84x60, year of printing: 1996; 3. Picasso & The Women of Algiers The Big Series art exhibition at Museum Berggruen featuring artwork by the notable Spanish artist and sculptor Pablo Picasso (1881-1973) titled Les Femmes d'Alger, depicting a lady in Algerian colourful clothing set over a bright multicoloured background. Good condition, creasing. Country of issue: Germany, designer: Pablo Picasso, size (cm): 84x59, year of printing: 2021; 4. Museum Berggruen National Gallery featuring an artwork by the notable Spanish artist and sculptor Pablo Picasso (1881-1973) titled Still life in front of a window at Saint-Raphael from 1919, depicting an open balcony door with cramped objects in the foreground on the table, overlooking the Mediterranean Sea. Very good condition, minor creasing, small tears. Country of issue: Germany, designer: Pablo Picasso, size (cm): 84x60, year of printing: 2014; 5. Museum Berggruen National Gallery featuring an artwork by the renowned French artist Henri Matisse (1869-1954) titled Die Seilspringerin / The Rope Jumper, depicting a feminine silhouette in blue jumping the rope. Good condition, minor creasing, minor staining. Country of issue: Germany, designer: Henri Matisse, size (cm): 84x60, year of printing: 2013; 6. Museum Berggruen National Gallery featuring artwork by the notable Spanish artist and sculptor Pablo Picasso (1881-1973) titled Der gelbe Pullover / Yellow Sweater from 1939, depicting a lady in a yellow sweater, purple, blue and green hat and purple skirt seated in a chair. Good condition, creasing, tears on bottom edge. Country of issue: Germany, designer: Pablo Picasso, size (cm): 84x60, year of printing: 2014.
Original vintage advertising poster for Rythmes et Danses / Rhythms and Dances art exhibition of works by Chagall, Delaunay, Dobashi, Max Ernst, Forquin, Gleizes, Gromaire, Jawlensky, Kandinsky, Klee, Leger, Lersy, Marcoussis, Miro and Picabia at the Galerie Fricker from 13 March to 4 April 1959, featuring an image by French artist Roger Lersy (1920-2004) showing a stylised image of a harp set over an orange and red background. Good condition, creasing, tears, staining, pinholes. Country of issue: France, designer: R. Lersy, size (cm): 69x52, year of printing: 1959.
Bauhaus - - Klee, Paul. Pädagogisches Skizzenbuch. Mit 87 Textabbildungen im Klischeedruck. München, A. Langen, 1925. 50 S., 2 Bl. 23 x 18 cm. Original-Broschur (Umschlag mit Randläsuren, Vorderseite vom Rücken gelöst, etwas fleckig).Bauhausbücher 2. - Erste Ausgabe. - Besitzvermerk auf dem Vortitel, S. 33 in den Rändern verstaubt und stockfleckig. - Dazu: J.J P. Oud. Holländische Architektur. 2. Auflage. Mit 55 Textabbildungen. München, Langen, 1929. 107 S. 23,5 x 18,5 cm. Original-Leinenband (stockfleckig, oberes Kapital mit Tesa fixiert). - Bauhausbücher 10. - Und: 6 Kleinbeilagen zum Thema Bauhaus. 1957-80. Meist Original-Umschläge.
Bauhaus - - Sammlung Gabrielson, Göteborg. Mit Beiträgen von Adolf Behne, Ludwig Hilberseimer, S. Friedländer-Mynona. (Erwerbungen 1922-23 Berlin). Mit einem von Erich Buchholz gestalteten Umschlag sowie 30 (1 farbigen) Tafeln. Berlin, ohne Verlag, 1923. 7 Bl. 23 x 20 cm. Bedruckte Original-Kartonage (leicht fleckig und leicht berieben, Rücken mit Fehlstellen restauriert). Ilk GA Germany 41. - Eins von 1000 nummerierten Exemplaren. - Zeigt die Erwerbungen, die der Sammler Hjalmar Gabrielson-Göteborg in den Jahren 1922-1923 in Deutschland gemacht hat. Mit Arbeiten von Baumeister, Caden, Dexel, Eggeling, Feininger, Freundlich, Itten, Kandinsky, Klee, El Lissitzky, Moholy-Nagy, Peri, Schlemmer, Schwitters etc. - Texte von Adolf Behne, "Die Sammlung Gabrielson-Göteborg"; Ludwig Hilberseimer, "Anmerkungen zur neuen Kunst"; S. Friedländer-Mynona, "Goethes Farbenlehre und die moderne Malerei". - Titel leicht fleckig, sonst gut erhalten.
Exlibris - - Sammlung von ca. 130 Jugendstil-Exlibris. Verschiedene Techniken. Meist Deutschland, um 1900. 5 x 3 cm bis 17 x 13 cm. Auf Kartons montiert.Mit Exlibris für Ernst Rosenfeld, Felix Klee, Walter Heinemann, Otto Bertsch, Paul Baum, G. Laszlo, Ludwig Bassermann, Karl Koch, Ludwig Säng, Carl Wagner, Oskar Leuschner u.v.a. - Sehr gut erhalten.
Expressionismus - - Das Kestnerbuch. Herausgegeben von Paul Erich Küppers. Mit 6 Original-Holzschnitten und 6 Original-Lithographien auf Tafeln. Hannover, Heinrich Böhme, 1919. 158 S. 28,5 x 22,5 cm. Original-Halbleinenband mit Rücken- und Deckeltitel (bestoßen und etwas fleckig, vorderes Innengelenk angebrochen). Erste Ausgabe. - Söhn HDO I, 130 - Raabe/ Hannich-Bode 174, 3. - Raabe, Zeitschriften 139. - Mit Original-Holzschnitten von Erich Heckel (Dube T. 319 b), Wilhelm Plünnecke, Eberhard Viegener, Ernst Barlach (Schult 163), Lyonel Feininger (Prasse W 46 II) und Kurt Schwitters (Schmalenbach-Bolliger 250) sowie Original-Lithographien von Max Unold, Richard Seewald (Jentsch L 91), Conrad Felixmüller (Söhn 176 b), Paul Klee (Kornfeld 75 b) und Max Buchartz. - Literarische Beiträge von Thomas Mann ("Schulkrankheit"), Alfred Döblin, Else Lasker-Schüler, A. Mombert, Theodor Däubler u.a. - Im Bund etwas gebräunt, etwa die zweite Hälfte auch im Blatt, Rückseite der Schwitters-Tafel und gegenüberliegende Textseite mit Fingerspuren im Rand.
1. Zylindrische Stangen-Vase Meissen, unterglasur blaue Schwertermarke 1957-1972, erste Wahl. Auf der Wandung polychrome Wiesenblumen-Malerei mit Klee - Motiv. Höhe: ca. 17,5 cm.>br>2. Baluster-Vase Meissen, unterglasur blaue Schwertermarke 1957-1972, erste Wahl. Schauseitig polychrome Blumenmalerei (Blume 3), Goldränderung. Höhe: ca. 18 cm. >br>3. Gefußte Vase Meissen, unterglasur blaue Schwertermarke Pfeiffer-Zeit 1924-1934, erste Wahl. Zylindrische Vase mit leicht ausgestelltem, geschweiftem Rand auf drei Tatzenfüßen und runder Plinthe. Schauseitig polychrome Blumenmalerei. Goldränderung, ein kleiner Rand-Chip, Höhe: ca. 14,5 cm.>br>4. Kleine Baluster-Vase Meissen, unterglasur blaue Schwertermarke, zweite Hälfte 20. Jahrhundert, zwei Schleifstriche. Dekor: Rote Rose mit Goldrand, Höhe: ca. 6,5 cm.
Jean Leppien, Abstrakte Komposition, signierte Farbserigraphie um 1970Jean Leppien, 1910 Lüneburg - 1991 Courbevoie bei Paris, Abstrakte Komposition mit rotem Kreis, Farbserigraphie, 55 x 42 cm, signiert, nummeriert 1/100, kleiner Einriss am rechten Rand außerhalb der Darstellung, o. RahmenZum Künstler: ab 1929 Studium am Bauhaus Dessau bei Josef Albers, Wassily Kandinsky und Paul Klee; stellte u.a. im Salon des Réalités Nouvelles aus; gehört zu den wichtigsten Vertretern der geometrischen Abstraktion in Frankreich.
Max Peiffer-Watenphul, Venedig, signierte FarblithographieMax Peiffer-Watenphul, 1896 Weferlingen - 1976 Rom, Venedig, Farblithographie, 47 x 24 cm, signiert, nummeriert 11/120, o. Rahmen.Zum Künstler: 1919 wurde Max Peiffer Watenphul Schüler am Bauhaus in Weimar. Er bekam ein eigenes Atelier und besuchte den Vorkurs von Johannes Itten. Freundschaft mit Oskar Schlemmer, Wassily Kandinsky, Gerhard Marcks, Josef Albers, Paul Klee, Kurt Schwitters und Else Lasker-Schüler. Ab 1920 war er Mitglied im Künstlerbund „Das Junge Rheinland“ in Düsseldorf, befreundet mit Otto Dix, der ihn porträtierte, Werner Gilles, Otto Pankok und Max Ernst. 1927-1931 Lehrer für allg. künstl. Entwurf an der Folkwangschule in Essen, 1946 an der Kunstgewerbeschule in Salzburg. Seit 1952 beteiligte er sich regelmäßig an der Großen Kunstausstellung im Haus der Kunst, München. Er wurde Mitglied im wieder gegründeten Deutschen Künstlerbund und gehörte auch längere Zeit der Münchner Secession an.
Max Bill, Geometrisch-konkrete Kompositionen, 2 signierte Farbserigraphie von 1978/88Max Bill, 1908 Winterthur - 1994 Berlin, Geometrisch-konkrete Komposition aus Quadraten in 5 Farben, Farbserigraphie, 55 x 55 cm, Blattgröße 84,5 x 59,5, signiert, datiert (19)78, nummeriert 112/150, o. Rahmen sowie Aufgestelltes Quadrat mit geometrischen Formen in 4 Farben, Farbserigraphie, 47,5 x 47,5 cm, Blattgröße 64,5 x 50 cm, signiert, datiert (19)88, nummeriert 200/250, Blatt stockfleckig, Darstellung nicht beeinträchtigt, o. RahmenZum Künstler: Schweizer Architekt u. Künstler mit Schwerpunkten in bildender und angewandter Kunst - einschließlich Bildhauerei, Grafik, industrieller Formgestaltung, Malerei (Vertreter der Zürcher Schule der Konkreten) und Typografie, von 1927-1928 studierte er in Dessau am Bauhaus, wo zu dieser Zeit Josef Albers, Wassily Kandinsky, Paul Klee, László Moholy-Nagy und Oskar Schlemmer lehrten.
Keiko Minami, "Owl and moon", Aquatinta-Radierung signiert, gerahmt Keiko Minami, 1911 Toyama - 2004 Tokio, japanische Künstlerin, die für ihre piktogrammartigen Aquatinten mit einer kindlichen Ästhetik bekannt wurde, hier: Eine Eule sitze auf einem Ast und schaut den Betrachter frontal an. Über ihr der Neumond, Aquatinta- Radierung, 30 x 30 cm, num. 49/50, r. u. sign., unter P.p. gerahmtKeiko Minami was a celebrated Japanese printmaker and author. Best known for her pictograph-like aquatints of castles, animals, flowers, and children, she employed a whimsical and child-like aesthetic that was at times similar to the work of the abstract painter Paul Klee, who served as a lifelong influence. Her work is characterized by its high level of intricacy and detailed linework which, coupled with her choice of gentle imagery, create a uniquely haunting aesthetic. She studied under the children’s book author and poet Sakae Tsuboi before attending the School of Fine Arts in Tokyo, where she met her husband the artist Yozo Hamaguchi. They later moved to Paris in 1953, where she learned from Johnny Friedländer, an expert in aquatint techniques, allowing to further expand her printmaking practice. At the height of her career, Minami’s images were reproduced as greeting cards for organizations such as UNICEF and The Museum of Modern Art in New York. Today, her works can be found in the collections of The Museum of Modern Art in New York, the Cleveland Museum of Art, the Los Angeles County Museum of Art, and the San Diego Museum of Art, among others.
Sieben Teile Porzellan des 18., 19. und 20. Jhs.Teetasse mit Untertasse, bemalt mit Bukett in Purpurcamaieau, Kgl. Meissen um 1770 (Punktzeit), H 5,5 cm; Biedermeier-Tasse mir goldener Floralmalerei, KPM Berlin, 19. Jh., H 12 cm; Tafelaufsatz mit Blumenmalerei von Nymphenburg, H 12 cm, Dm 26,5 cm; Amphorenvase mit Camaieau-Malerei, Flaschenvase mit Kauffahrtei-Szene und Kerzenhalter, alle Potschappel, Dresden, 20. Jh., H 28, 30 & 13,5 cm sowie Teedose des Art Deco von Hutschenreuther, Entwurf Fritz-Klee, H 13 cm
A scarce original WW2 era award document for the German Cross in gold. A printed document with type written details for Feldwebel Wilhelm Klee, and dated June 6th 1942. Hand signed in blue fountain pen to the bottom right hand corner. Size 23.7cm x 17.8cm. Condition: generally good. Diagonal fold line just across the top of the word Feldwebel, please another to the bottom left corner. Some foxing in places, as shown in the images.
§ ‡ Alan Davie C.B.E., R.A., H.R.S.A. (British 1920-2014) Flutter By Night, 1962 signed, titled, dated and inscribed Opus O.445 (verso) oil on canvas Dimensions:122cm x 152.4cm (48in x 60in) Provenance:Provenance Gimpel Fils, London, where acquired by Mrs Charles Benenson, August 1963 Gimpel Fils, London, where acquired by the present owner, November 2007Literature Alan Bowness, Alan Davie, Lund Humphries, London, 1967, cat. no.381, Note: Alan Davie once noted: ‘Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT’. This sentiment remained his guiding principle across a career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his paintings and printmaking internationally, he also designed and made jewellery, wrote poetry and performed as a professional music, most notably as a jazz saxophonist, but also as a cellist and pianist. Davie felt that all these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie was equally as diverse in the sources of his inspiration, seeking it across space and time. He, like many artists of his generation, had a specific interest in Jungian ideas of the ‘collective unconscious’, aiming to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance, a method similar to that of improvisation in jazz. Yet, as was so concisely put in the artist’s obituary, published in The Guardian, ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his and this is particularly clear in an example like the present work. Flutter by Night dates from 1962, an interesting moment in Davie’s artistic life. With the benefit of hindsight and the awareness of the longevity of his career, it feels like a relatively early work but is in fact from a period in which he had already gained significant momentum as an artist. It follows his visit to the U.S.A. in 1956 where he exhibited (with the ground-breaking Catherine Viviano Gallery) and also met artists including Willem de Kooning, Robert Motherwell, Jackson Pollock and Mark Rothko. It also follows a significant retrospective at the Whitechapel Gallery in London in 1958. Another retrospective took place at the Stedelijk Museum in Amsterdam, in the same year as this painting was made. It is easy to feel a sense of this inspiration and energy in Flutter by Night; expressive and energetic, the gestural brushwork and bright colour break their way through the swathes of grey. Davie was said to have developed his understanding of the role of the artist from Paul Klee: ‘he neither serves nor rules – he transmits.’ In Flutter by Night Davie succeeds in this quest, his painterly improvisation viscerally conveying his vigorous vision, reaching across time and space all the way out to reach us, in the here and now.
§ Jiří Kolář (1914-2002) Two unframed silkscreens; Klee and Mondrianeach signed 'Jiri Kolar' (lower right); numbered 48/5028.5 x 21.5cmEach stuck down to cardboard at each corner. Each with some very minor blemishes (see images), the most noticeable of which is the centre right of 'KLEE', possibly with slight toning of the paper, though this is uniform throughout. Overall in nice, clean condition.
3 seltene Kinderspiele. Um 1900-30. Max. 39,5 x 24,5 cm. "Schnipp Schnapp. Neueste Ausgabe". Verlag J.W. Spear & Söhne, Nürnberg. / "Ich hab mein Herz im Spiel verloren!" Klee-Spiele, Fürth. / "Hans im Glück". Verlag unbekannt. Gut erhalten, wohl vollständig. Kartons mit kleinen Defekten. Aufrufzeit 26. | Okt 2023 | voraussichtlich 11:29 Uhr (CET)3 rare children's games. Around 1900-30. Max. 39.5 x 24.5 cm. "Schnipp Schnapp. Latest Edition". Publisher J.W. Spear & Sons, Nuremberg. / "I lost my heart in the game!" Klee-Spiele, Fürth. / "Hans im Glück." Publisher unknown. Good condition, probably complete. Cartons with small defects. Call time 26th | Oct 2023 | probably 11:29 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
KLEE, Paul (nach)(1879 Münchenbuchsee - 1940 Muralto) Limitierte Künstlermappe "Paul Klee"Original-Kassette: 70 x 50,5 cm. Vollständige Künstlermappe in Original-Kassette mit Prägedruck, mit 6 reproduzierten Werken aus Privatbesitz, Beiblätter mit Vorwort von Felix Klee, Biografie, Inhaltsverzeichnis und Impressum, Exemplar: 302/1000, 1988 (= Faksimile der Moderne 6). Deutscher Maler, Grafiker, Kunsttheoretiker und Lehrer am Bauhaus in Weimar und Dessau; gehört zu den bedeutendsten Künstlern der Klassischen Moderne des 20. Jahrhunderts. Aufrufzeit 26. | Okt 2023 | voraussichtlich 19:15 Uhr (CET) KLEE, Paul (after)(1879 Münchenbuchsee - 1940 Muralto) Limited artist portfolio "Paul Klee"Original box: 70 x 50.5 cm. Complete artist portfolio in original embossed case, with 6 reproduced works from private ownership, inserts with foreword by Felix Klee, biography, table of contents and imprint, copy: 302/1000, 1988 (= Facsimile of Modernism 6). German painter, graphic artist, art theorist and teacher at the Bauhaus in Weimar and Dessau; is one of the most important artists of the Classical Modernism of the 20th century. Call time 26 | Oct 2023 | expected 19:15 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Nachttischlampe ''Tastlicht''. Auf dem Boden Stempel mit Nr. "7404" und Datum "1962". BRANDT, Marianne (Entwurf)(1893 Chemnitz - 1983 Kirchberg) Messingblech, beigefarbener Glasschirm, Kunststoff-Schalter. H 23 cm. Messingfuß, übergroßer weißer Tastschalter, gebogter Arm mit schwenkbarer Schraubfassung, Kugelglasschirm. Einige leichte Alters-/Gebrauchsspuren. Funktion nicht geprüft. Bauhaus-Künstlerin, Schülerin der Hochschule für Bildende Kunst Weimar (Mackensen) und am Bauhaus Weimar (Mohol- Nagy, Albers, Kandinsky und Klee). 1929 - 1932 war sie Leiterin der Entwurfsabteilung der Ruppelwerk GmbH. Literatur : Vollmer. Aufrufzeit 26. | Okt 2023 | voraussichtlich 19:43 Uhr (CET)Nightstand lamp ''touch light''. Stamped on the bottom with no. "7404" and date "1962". BRANDT, Marianne (design)(1893 Chemnitz - 1983 Kirchberg) brass plate, beige glass shade, plastic switch. H 23 cm. Brass base, oversized white push-button switch, curved arm with swivel screw socket, spherical glass shade. Some light signs of age/use. Function not tested. Bauhaus artist, student of the Academy of Fine Arts Weimar (Mackensen) and at the Bauhaus Weimar (Mohol- Nagy, Albers, Kandinsky and Klee). 1929 - 1932 she was the head of the design department of Ruppelwerk GmbH. Literature : Vollmer. Call time 26 | Oct 2023 | expected 19:43 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
A collection of exhibition posters, 'Julian Trevelyan' Brentford Arts Centre, 1986; 'Paul Klee - The Last Years' Hayward Gallery, 1975;'Henry Moore' Serpentine and Tate Gallery, 1975;'Circle' Kettles Yard, 1982;'Picasso's Picassos' Hayward Gallery, 1981;'The Graphic Work of Georges Braque';'Asger Jorn' Barbican, 1983;'Ben Nicholson - The Years of Experiment 1919-39' Kettles Yard, 1983; 'Charles Despiau' Musee Rodin;'Sarah Jackson - Revelations Behind the Mirror' The Art Gallery, Novia Scotia, 1981;'Alfred Wallis' Penwith Galleries, 1983;'Kathe Kollwitz 1867-1945' Kettlles Yard, 1981;'Munch-Museet' 1978;'Henri Toulouse Lautrec, Malmo, 1984;'Late Sickert - Paintings from 1927-1942' Hayward Gallery, 1982;'The Graphic Work of Albrecht Durer ' The British Museum, 1972 (16)Provenance: The Estate of John Graham (1927-2021), Harlow.Condition ReportSome with folds and creases to the edges. Most in good overall state. Most have pin holes to corners.
Staatlich Meissen, Unterglasurblaue Schwertermarke 1950-heute: 6 kleine Vasen Dekor StreublümchenPorzellan Aufglasur polychrom bemalt und goldstaffiert, Höhe 14, 12,5, 9,5 und 6,5cm, 1. Wahl, Höhe 6,5cm 2.Wahl, Z1-, Höhe 10,5cm Z2-3 (Knaufzeit, einige Blümchen abgebrochen). Sowie 1 Vase Hutschenreuther Entwurf Fritz Klee, Porzellan goldstaffiert, Z1- (Gold min. berieben).
Imkamp, Wilhelm, 1906 Münster - 1990 StuttgartZählt zu den bedeutenden abstrakten Malern der Nachkriegszeit in Deutschlandund studierte am Dessauer Bauhaus bei Kandinsky, Klee und Feininger.: KompositionÖl auf Leinwand auf Pappe gezogen, links unten monogrammiert, verso signiert und datiert "61", 14,5x15cm, Leinenpassepartout und Rahmen, Z2 (Pappe verzogen).
Imkamp, Wilhelm, 1906 Münster - 1990 StuttgartZählt zu den bedeutenden abstrakten Malern der Nachkriegszeit in Deutschlandund studierte am Dessauer Bauhaus bei Kandinsky, Klee und Feininger.: "Apo"Gouache auf Papier, unten links bleistiftsign. und dat. "68", verso bezeichn. 10x6,5cm, mit Passepartout hinter Glas gerahmt, Z1-2.
Imkamp, Wilhelm, 1906 Münster - 1990 StuttgartZählt zu den bedeutenden abstrakten Malern der Nachkriegszeit in Deutschlandund studierte am Dessauer Bauhaus bei Kandinsky, Klee und Feininger.: abstrakte KompositionGraphit und Aquarell auf Papier, unten rechts sign. und dat. "84", 17x9cm, mit Passepartout hinter Glas in versilbertem Galerierahmen, Z1-2.
WASSILY KANDINSKY (1866-1944)Milieu jaune signed with the artist's monogram and dated '34' (lower left); signed with the artist's monogram, inscribed and dated 'No. 597 1934 - 'Milieu jaune'' (on the reverse)oil and tempera on panel64.6 x 81.3cm (25 7/16 x 32in).Painted in Paris in March 1934 Footnotes:ProvenanceNierendorf Gallery, New York, no. 28.Hilla von Rebay Collection, Westport (acquired by 1945).Nina Kandinsky, Paris.Galerie Maeght, Paris, no. 9433 (acquired from the above by 1970).Private collection, Europe (acquired from the above in 1975).A gift from the above to the present owner in 1983.ExhibitedLondon, April 1937. (Possibly) Bern, Kunsthalle Bern, no. 0060.New York, Solomon R. Guggenheim Foundation, Museum of Non-Objective Painting, In Memory of Wassily Kandinsky, 15 March - 15 May 1945, no. 146. Paris, Galerie René Drouin, Kandinsky, Époque parisienne, 1934-1944, 2 June – 2 July 1949, no. 43.Paris, Galerie Maeght, Kandinsky, November 1953, no. 42. Paris, Galerie Maeght, Kandinsky, Période parisienne, 1934-1944, 1969, no. 1 (later travelled to New York).Baden-Baden, Staatliche Kunsthalle, Wassily Kandinsky, Gemälde 1900-1944, 10 July – 27 September 1970, no. 129. Humlebaek, Louisiana Museum of Modern Art, Wassily Kandinsky-Paul Klee, 30 October 1971 – 9 January 1972, no. 31. Charleroi, Palais des Beaux-Arts, Wassily Kandinsky rétrospective, 29 January – 12 March 1972, no. 38. Zurich, Galerie Maeght, Kandinsky, April 1972, no. 45. Paris, Musée d'Art Moderne de la Ville de Paris, Hommage de Paris à Kandinsky, La conquête de l'abstraction, l'époque parisienne, 7 June – 30 July 1972, no. 16. LiteratureThe artist's handlist, Vol. IV, no. 597. W. Grohmann, Wassily Kandinsky, Life and Work, New York, 1958, no. 434 (illustrated p. 385). H.K. Roethel & J.K. Benjamin, Kandinsky, Catalogue Raisonné of the Oil Paintings, Vol. II, 1916-1944, London, 1984, no. 1034 (illustrated p. 934).His admirable eye, merging with his faint veil of glass to form perfect crystal lights up with the sudden iridescent glitter of quartz. It is the eye of one of the first and one of the greatest revolutionaries of vision.- André Breton in his preface for the catalogue of the 1938 Kandinsky exhibition organised by Peggy Guggenheim in London, translated by Samuel Beckett.A conjuror of sublime artistic realms, Wassily Kandinsky was limitless in achieving grand and adventurous compositions. But in the harsh grounds of reality – namely, Europe in 1933 – he once again found himself torn between worlds. Kandinsky and his wife Nina's uprooting from Berlin had been sudden, spurred by the Nazi regime's coordinated attack on Modern art, which culminated in the closing of Kandinsky's beloved Bauhaus school. As a Russian-born artist whose fame was then more pronounced in Germany than in France, Kandinsky encountered in Paris a strange hybrid of novelty and familiarity. Cubism was enjoying a fervent resurgence, the Surrealists were transforming the definition of art, and the Abstraction-Création movement was revitalising austerity and constructivism in art. But none of these dogmatic movements, with their rigid formulae and manifestos, wooed Kandinsky. While he extracted certain stylistic and technical innovations from his peers, he ultimately sought freedom and solitude in his wholly individual style. The present work was created at the outset of Kandinsky's richly prolific Paris period, commencing in 1934 after a six-month hiatus due to his and Nina's relocation. In his new studio at Neuilly-sur-Seine, Kandinsky generated a body of work that exploded with vision and colour, introducing a fresh vocabulary of forms grounded in the infinite complexity of the natural world. Despite his being forced to leave Germany at the brink of its demise, these paintings - the first of which was aptly titled Montée gracieuse ('Graceful ascent') - exude optimism, sentimentality and faith in the future. Toiling in relative seclusion, Kandinsky reaffirmed his persona as a painter of worlds, concocting grandiose visions of words, sounds and organisms, distilled by his unique and highly spiritual painterly formula. Milieu jaune presents to the viewer a celestial vision, which at once feels universal and deeply personal. The background throngs with the cosmic force of some omnipotent entity made of glowing yellow starlight, encased in swirling vortexes of lavender and pink. To the lower centre, a purple crescent moon rendered with compass-like exactitude rises like an omen over a conservatory dome bathed in daylight, housed behind a proscenium archway one might access via the floating rungs beneath it. These architectural forms conjure a grand temple in an Arcadian realm, immortalised by their constructive frameworks and yet undulating in a rhythmic trance. Indeed, the central diagonal lines seem to evoke successive chords in a symphony, while the alternating colour planes in the nearby pentagon conjure a tinkling melody, anchored by the steady percussion of the short, staccato lines to the upper centre. These tantalising currents, made tangible through the repeated hints of gateways and ladders, generate an ultimate odyssey of contemplation. The viewer – guided by divine light – is invited to step up into the painterly realm and explore its glimmers of interlinking narratives and settings. The Surreal notion of physically inhabiting an artwork captivated Kandinsky since childhood, as he would later call upon the viewer to 'take a walk' in his paintings, 'to compel him to forget himself, to dissolve himself in the picture' (Kandinsky quoted in W. Grohmann, op. cit., p. 31). Concurrently, the resemblance between Kandinsky's semi-circular and oval forms to eyes invokes a sense of omnipotence, as we the all-seeing viewers take stock of the artist's grand design. This overwhelming sense of gazing upon a primordial universe is a powerful incantation of Kandinsky's abstraction, which was crafted according to 'the totality of natural laws governing the cosmos' (Kandinsky quoted in W. Grohmann, ibid., p. 224). In Paris in the 1930s, Kandinsky's new focus on scientific, biological and cosmic motifs brought that motive to fruition, in the spirit of his friends Paul Klee and Jean (Hans) Arp, as well as Surrealists such as Salvador Dalí and Joan Miró. Indeed, the playful sequence of undulating semicircles to the lower left could convey fairy-tale toadstools, or the interlocking segments of a caterpillar-like entity on the brink of its imminent metamorphosis.
JEAN COCTEAU (1889-1963)Étude pour 'Hommage à Paul Klee' (recto); Étude pour le portrait de Marie Bell (dans Phèdre) (verso) inscribed 'Herr Pa Klee L'épigone d'Athènes' (upper right) and further inscribed 'Hommage' (lower left); inscribed 'Marie Bell' (on the reverse)coloured felt-tip pen and black pencil on paper (recto); coloured felt-tip pen on paper (verso)65 x 50cm (25 9/16 x 19 11/16in).Executed circa 1962 (recto); executed circa 1960-1962 (verso)Footnotes:The authenticity of this work has been confirmed by Annie Guédras.ProvenanceSéverin Wunderman Collection, Côte d'Azur; his sale, Bonhams, Knightsbridge, 25 January 2011, lot 171.Private collection, London (acquired at the above sale).ExhibitedSapporo, Hokkaido Museum of Modern Art, Exhibition Jean Cocteau, Séverin Wunderman Collection, 19 April – 29 May 2005, no. 57 (later travelled to Tokyo, Kofu, Kobe and Morioka).The front of the present work is an homage to Jean Cocteau's friend Paul Klee, depicting him as a Modern dandy and labelling him as an epigone of Athens. The lively, outlandish motifs, such as the monkey-dog Klee walks and the fish flying by, comprise an unlikely foreground against the distant Acropolis. An enthusiast for the Classical world, Cocteau could here be revering the precision and spiritual force of Klee's compositions, many of which can be interpreted as Surreal and Abstract renditions of Arcadia. The reverse of the sheet depicts Marie Bell, a talented French actress who starred in a number of comedic and tragic roles across theatre and cinema. This drawing was likely executed as a study for a series of posters Cocteau made of Bell in the 1960s, showcasing her performance in Phèdre, Jean Racine's adaptation of the original Roman tragedy Phaedra by Lucius Annaeus Seneca.The present work previously formed part of the illustrious collection of Séverin Wunderman, the famous luxury watch manufacturer, art collector and philanthropist, renowned for developing Gucci Timepieces into a powerful global brand. Perhaps the most notable of his international residences was Chateau Montfort, a 16th century hunting lodge on the Côte d'Azur, which he painstakingly restored, renovated and decorated. A particularly exotic homage to Cocteau existed in the form of a suite in which the entire sitting area and bedroom were covered floor to ceiling in Cocteau works. Chateau Montfort hosted a number of flamboyant events that were fixtures in the Côte d'Azur social calendar, including The White Party and The Tintin Party. Wunderman, who was considered to be the world's largest Cocteau collector before he passed away in 2008, established a museum of Cocteau's work in Menton that was adorned with works from his private collection.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Bauhaus refers to a renowned art school that operated in Germany between 1919 and 1933. It was founded by architect Walter Gropius in Weimar and later moved to Dessau and Berlin. The school's name, Bauhaus, translates to "building house" in English, reflecting its focus on the integration of art, craftsmanship, and technology in architectural and industrial design.The Bauhaus had a profound impact on modern art, design, and architecture. Its approach emphasized functionalism, simplicity, and the idea of merging art with everyday life. The school sought to break down the barriers between different artistic disciplines, combining fine arts, crafts, and technology.The curriculum at the Bauhaus was comprehensive and included courses in areas such as painting, sculpture, architecture, typography, graphic design, industrial design, and theater. Prominent artists and designers, including Wassily Kandinsky, Paul Klee, László Moholy-Nagy, and Marcel Breuer, taught at the school.The Bauhaus also had a significant influence on architectural design, promoting principles such as the use of clean lines, open floor plans, and the integration of technology and industrial materials. Many iconic pieces of furniture and household objects associated with the modernist movement were designed at the Bauhaus.Despite its relatively short existence, the Bauhaus had a lasting impact on design and aesthetics. Its ideas and principles spread internationally, influencing subsequent generations of artists, architects, and designers. The legacy of the Bauhaus can still be seen in contemporary design, particularly in the areas of modernist architecture and functionalist industrial design.Measures 23.6 x 31.4.
Plakate.: Sammlung von 70 Ausstellungs-Plakaten versch. Künstler. Offset, Farbserigraphie. Bis ca. DIN A1. 1960er-87er Jahre. - Tls. leicht bestoßen. ╔Darunter:╗Gunter Schopf (sign.), Peter M. Bauer u. Dietrich Fricker (sign.), Rolf Wagner (sign.), Albert von Keller, Roland Dörfler, Fritz Steisslinger, Käthe Kollwit z, Adolgf Hölzel, Max Beckmann, Ulrich Zeh, Eleonore Kötter (sign.), Fritz Winter, Picasso, Lovis Corinth, Christian Landberger, Hermann Pleuer, Peter Grau, Gunter Bömer, Walter Dambacherm O.H. Hajek, Robert Dörfler, Henry Moore, Ida Kerkovius, Dieter Roth, Paul Klee, Rupprecht Geiger, E.L. Kirchner, HAP Grieshaber, Otto Dix, Manfred Pahl, Walter Wörn, Fritz Ruoff (in Bleistift sign.), Ursula Stock. ╔Dabei:╗ Originalzeichnung v. Karl Goll, roter Buntstift, wohl Plakatentwurf: 29.07.1049 Schlosskonzert. Mchen. Andrea Wendling-Quartett. 14 x 34,5 cm. D
Paul Klee - "Blick auf einen Fluss", Lithographie, deutsch, 1912 Lithographie auf leicht gelblichem Paper. Darstellung einer breiten Flussgabelung mit kleinem Boot. Am linken Ufer eine einfache Hütte. Rechts oben signiert "Klee", rechts unten bezeichnet und datiert "Blick auf einen Fluss. 1912. 2" (zweite Version) sowie handschriftlich mit Bleistift signiert. In Passepartout und einem etwas beriebenen, stuckierten Leistenrahmen aus Holz. Maße mit Rahmen 48 x 58 cm.Paul Klee (1879 - 1940) war ein berühmter deutscher Maler und Grafiker der klassischen Moderne. Die erste Version dieser Lithographie, die gleichzeitig die erste in Klees Œuvre war, wurde in der Mappe mit 15 Originalsteinzeichnungen der Künstlervereinigung Sema publiziert. Es handelt sich hierbei um dasselbe Motiv in zweiter Version mit veränderter Bildbezeichnung (nun in Stein statt Bleistift).Im Werkverzeichnis unter "42/B/b." bei Kornfeld (2005) zu finden. Paul Klee - "View of a River", lithograph, German, 1912 Paul Klee - "View of a River", lithograph, German, 1912Lithographie auf leicht gelblichem Paper. Darstellung einer breiten Flussgabelung mit kleinem Boot. Am linken Ufer eine einfache Hütte. Rechts oben signiert "Klee", rechts unten bezeichnet und datiert "Blick auf einen Fluss. 1912. 2" (zweite Version) sowie handschriftlich mit Bleistift signiert. In Passepartout und einem etwas beriebenen, stuckierten Leistenrahmen aus Holz. Maße mit Rahmen 48 x 58 cm.Paul Klee (1879 - 1940) war ein berühmter deutscher Maler und Grafiker der klassischen Moderne. Die erste Version dieser Lithographie, die gleichzeitig die erste in Klees Œuvre war, wurde in der Mappe mit 15 Originalsteinzeichnungen der Künstlervereinigung Sema publiziert. Es handelt sich hierbei um dasselbe Motiv in zweiter Version mit veränderter Bildbezeichnung (nun in Stein statt Bleistift).Im Werkverzeichnis unter "42/B/b." bei Kornfeld (2005) zu finden.Condition: I - II
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